#Dave Lory

[sweetdreamsjeff]

Jeff Buckley in the U.K.

JEFF BUCKLEY loved British music; the nervous energy in British punk, the wired consciousness of the Clash, the way Siouxsie and the Banshees went from gun-metal moodiness to skies full of fireworks.

He adored the Cocteau Twins, of course, especially Liz Fraser's "impossible voice". He loved how the Smiths called to outsiders and nerds. He loved the textures of Johnny Marr's supple guitar and the mordant presence of Steve Jones's guitar in the Sex Pistols.

Jeff, whose own nervous energy was considerable, became even more wired whenever we went to the UK; he was stimulated by its variety. He also appreciated its compactness – the lack of eight-hour drives between cities was refreshing.

Sony had passed on Live at Sin-é in Europe. We were understandably disappointed, but there was a solution close at hand: Steve Abbott, known to everyone as Abbo, who ran the eccentric indie record label Big Cat and had picked up on many of the promising un-signed bands playing in New York: Pavement, Mercury Rev, Luscious Jackson. He had approached Jeff after Gods & Monsters and Sin-é shows and asked him if he'd like to record with Big Cat, but then Sony stepped in. Jeff felt that he owed Abbo a record, so when Columbia UK passed on Live at Sin-é and Michele Anthony instigated a funding deal with Big Cat, it seemed the perfect opportunity for them to become involved. Abbo jumped at the chance.

Big Cat's small team – Abbo, co-owner Linda Obadiah, Frank Neidlich in marketing, and Jacqui Rice in press – did such a good job that the week it was released in Europe, Live at Sin-é sold over four thousand copies, which was amazing for a complete unknown.

After a Sony conference, where it was clear that a lot of the affiliates were bemused by him, Jeff had a warm-up show at Whelan's in Dublin. By the time he came on, the crowd, several drinks into its evening, had become a little boisterous. Jeff said hello softly, as usual, but no one was really paying attention. Jeff just stood there, waiting. People started to quieten down and watch to see what he would do. There was a pint of his favourite beer, Guinness, sitting on the stool next to him. Jeff lifted the glass to his lips and downed it in one hit. Everyone on the room cheered, and he began the Irish show with the crowd completely on his side.

The audience was more blasé the next night at his London debut at The Borderline, a Western-themed venue under a dubious Mexican diner in Soho, right in the heart of London, a group of local reps for hip American indie labels like Sub Pop and Merge yacking away rather disrespectfully at the bar. In the age of grunge, a lone guy with a guitar softly singing Edith Piaf covers was baffling for some.

"It was an epiphany for me," says Sara Silver, Sony's European head of marketing. "There are some shows where it just feels like you're a voyeur, looking into someone's soul. This was one of those. He was charismatic, but also haunting, and I think because of my particular situation at the time, still suffering from the [loss of my husband], he resonated hugely. This haunting sound was a powerful force, and it was my job to work out how we took it to the world."

A gig the next night in Glasgow meant an early-morning flight back to Heathrow the following morning to catch a session with GLR, London's local BBC station, a slot designed to alert people to the next couple of gigs at the Garage in Islington and at Bunjies, a cute little basement folk club in Central London that dated back to the early 1960s and made Sin-é seem generously proportioned.

Abbo was accompanying Jeff on this run.

"We'd meet regularly at a bar called Tom & Jerry's in New York, hang out and drink Guinness together," Abbo says, "I suppose I became a friend of his, and he didn't seem to have many real friends. I'd only discovered I liked the blues since living in New York, so it was great hanging with him, because he was a huge blues and jazz fan and if there was a guitar around he had to pick it up and show off. He knew every Robert Johnson song, every Muddy Waters tune, Bessie Smith; he introduced me to the physicality of the blues, watching it at close quarters. Everybody talks about his voice, but he was a brilliant guitarist. The guitar was an extension of his body.

"Tim Buckley hadn't really entered my line of vision growing up listening to black music. Singer-songwriters with fluffy hairstyles were not currency on my council estate in Luton! We were in Tom & Jerry's and someone said to Jeff, 'I've been listening to your dad,' and I said, 'Who's your dad?' and he said, 'Tim Buckley.' I knew the name from record shopping; I'd seen the sleeves in the racks, but that's it. But when he came over to Britain there were loads of Tim Buckley fans. And it was a real problem early on, because he really didn't like talking about him."

The traffic from the airport to the GLR studios just off Baker Street was awful. A road accident had slowed everything to a standstill. Jeff's slot on the mid-morning show was fast approaching. "Of course, this was before mobile phones, so I had no way of communicating with the radio station that we were stuck in traffic," says Abbo. "For the last few days on this tour, everyone who'd interviewed Jeff had been asking about his dad. How did Tim write 'Song To The Siren'? Was there stuff in his lyrics that he might have related to? Things Jeff couldn't answer.

"We were listening to GLR while we waited in traffic and the presenter kept saying, 'We're supposed to have this artist, Tim Buckley's son, turning up, but he's late....Will he or won't he turn up?' This went on and on. She must have said 'Tim Buckley's son' about four times and didn't mention Jeff once. Suddenly, he just kicked my car radio in with his big DMs [Doc Martens], just smashed the fascia and then sat back sulking all the way there. I could get another radio, of course, but I was mostly worried he wasn't going to do the performance. 

"We finally arrived about forty minutes late and they were all so rude to us, and yet they knew what the problem was, as they were broadcasting traffic updates and warnings of delays themselves. If I were him, I'd have walked out. The female presenter was a typical local radio DJ, a bit gushy and knew nothing about him and his music. I had a word with the station manager to ask her to stop mentioning Tim Buckley, and he handed her a note to that effect. Jeff just sat there silently and she said, 'What are you going to play?' and Jeff said, 'A song.' I'm thinking, 'Oh god, here we go.' And he started to play "Grace." He did this long guitar introduction, went on for about a minute, like he needed to calm himself down before he got to the actual start of the song, and then he launched into the most electrifying performance. The best I ever heard him do it.

"There were about six phones in the control room, and they all started lighting up. 'Who is this? Who is this? It's amazing!' And all the time, Jeff's getting more and more into it. The presenter went from being this standoffish woman to...I swear she would have thrown herself on him given half a chance, the second he finished singing. You could see she was totally enthralled."

Presenter: "You looked quite exhausted at the end of the song."

Jeff: "I was getting a lot of anger out. Something happened on the way here..."

"The phones didn't stop throughout the next song. The station manager said that in all his twelve years at the station, he'd never seen a reaction like it."

Abbo thinks this performance sparked Jeff's breakthrough. There were certainly plenty of people in line outside the Garage in North London that night. Inside, the first stars were taking note. Chrissie Hynde and Jon McEnroe were in the audience. Chrissie had been a big fan and a friend of Tim's, had actually interviewed him while she was briefly a music journalist with the NME, and she was obviously curious to see how his offspring compared. They struck up a conversation after the show and she clearly said the right thing, because he went off with her to jam with the Pretenders in a nearby rehearsal room. I wasn't carrying anything heavy because of a recent lung collapse, and I didn't want Jeff to pull any important muscles, so I asked McEnroe if he wouldn't mind. He happily hauled Jeff's amp downstairs to the car. The Pretenders' jam with special guests Buckley and Mac went on all night.

Bunjies, as I've said, was tiny, a basement folk club and coffee bar on West Street in Soho, along from the Ivy, with gingham tablecloths and melted candles in wine bottles on the tables and a performance area tucked into a couple of arches in what must have been a wine cellar at one point. It looked unchanged since it had begun in the early 1960s, and had seen a couple of folk booms come and go. It was more of a cafe with an open-mic policy by this point, which felt like a good place for Jeff. There wasn't really any need for amplification, so when we arrived for a sound check there was very little to do but see where Jeff was going to stand in the cramped space and gauge how his voice reflected off the nicotine-stained ceilings. While Jeff did that, I went outside for some fresh air and was stunned to see a line of people already waiting to get into the show.

I took a look at the guest list and realised we'd be lucky to fit twenty of this assembling crowd in the tiny space. Every time I looked up, the line was getting further down West Street. I went back into the venue and found Jeff talking to Emma Banks, the agent. He was saying how great the venue was and that he'd like to do something like hand out flowers to everyone before he went on.

"Jesus, you won't believe what's happening out there," I said to them. "The line goes about four blocks. There's no way these people are going to get in. Is there any way we can do two sets?" Jeff was happy to. Emma spoke to the club owner and was told they had some regular club night happening later on. She came back and said, "They can't do it but I've had an idea!" She disappeared up the steps onto the street, and I spoke to Jeff.

"What flowers would you like?"

"White roses," he said.

"I'll get them," I said, and went back up to the street, where the line had grown even longer.

I walked around looking for a florist and bumped into Emma. "I've booked Andy's Forge," she said. "It's a little place just around the corner in Denmark Street. He can go on at 10:30."

I bought as many white roses as I could find. Jeff handed them to people waiting outside and those lucky enough to get into the club, as he squeezed himself into the corner that passed for a stage. He sang upward, listening to his voice reflect off the curved ceiling into this hot, crowded, and attentive space. There must have been a hundred people stuffed in there.

When the show was over, Jeff walked up the steps to the huddle of patient people that Emma had gathered, plus anyone from the first show who wanted to tag along, and led this crowd like the Pied Piper toward Andy's Forge. Abbo was alongside me. "Have you ever seen anything like this before?" I said.

"Never!" he said. And we laughed liked idiots at the wonderful absurdity of hanging out with Jeff.

Jim Irvin, 'From Hallelujah to the Last Goodbye' (Post Hill), May 2018

Excerpted from Jeff Buckley: From Hallelujah to the Last Goodbye by Jeff's former manager Dave Lory and former MOJO man Jim Irvin (Post Hill Press).

[mxgicdave]

last train doodles 🚂

[tvcartoonme]

Full house 1987 8 seasons

[nirvana-collector]

Unplugged in New York was released on this day in 1994.

November 1, 1994

[drewlyyours]

do you have a fave queer nd ship?

I honestly have always loved Rose Green x Abby Sideris (our fav bed & breakfast lesbians) from MHM because I ALWAYS (even 11 years old me) thought they were together, in no way do those two come across as just friends. Also, the absolute legendary vibe of the logical bill-payer and free-thinking fortune teller. Plus, I feel like it’s black cat and golden retriever energy but Abby is the dog and Rose is the cat.

Some less obvious ships…

I do love Deirdre x Nancy’s dynamic and ALL content that comes from it but to me, Nancy and Deirdre don’t always fit. HOWEVER, Nancy x Maya Nguyen would be my pick. All of The Final Scene is just Nancy screaming at people trying to get her girlfriend back. I wish we saw more of her. Nancy would be supporting her journalist girlfriend, and they BOTH go off and do amazing things, so neither is left back at home (no offense Ned)

Henry Bolet Jr. (CRY) x Ned Nickerson !!!!

Tex Britten x Mary Yazzie (it’s giving t4t, I adore them) (SHA)

At this moment I’m kinda feeling Joe Hardy x Dave Gregory (SHA). Midwest boi going on far off adventures but falling for hottie ranch hand with a heart of gold.

Lori Girard I would also headcanon is Trans, and her painful toxicity belongs with Tino Balducci. (TRN)

Also Letitia needs a wife.

[filmesbrazil]

[mychameleondays]

Nirvana: In Utero

Geffen/Sub Pop GEF 24536

Released: September 13, 1993

[liquid-geodes]

The important people in my life get to know about William Afton, as a treat

My parents do not know the name William Afton

[thatlesbiancrow]

aside from my very obvious lack of care for og Lori, i think the similarities and differences in one of my current OCs and the one i stole her name from is a bit funny

stuff i preferred as a sophomore vs what i like now

[xxxsimplyhookedxxx]

Lori Loughlin Opens Up About Her Relationship With Full House Cast | Ep 12

[americanahighways]

REVIEW: Lori McKenna “1988”

REVIEW: Lori McKenna “1988” #lorimckenna #1988 #americanaandy #listenbetter #newmusic2023 #buymusic #davecobb

Lori McKenna – 1988 I was listening to Lori McKenna’s new album, 1988, at the same time that the latest Jason Aldean controversy was filling up Twitter, and it occurred to me that McKenna and Aldean (and the latter’s medium-sized village of songwriters) could not have more diametrically opposed views of small towns and the lives that they hold. While Aldean’s mythical hamlet is full of guns,…

[moviesandmania]

THE CHRISTMAS TAPES (2022) Reviews of horror anthology - now free to watch online!

THE CHRISTMAS TAPES (2022) Reviews of horror anthology – now free to watch online!

‘The gifts that keep on killing’ The Christmas Tapes is a 2022 American horror anthology film in which a family’s movie night on Christmas Eve is interrupted by a stranger, insistent on making the next Christmas ‘classic’ film himself. Written, co-produced and directed by Robert Livings and Randy Nundlall Jr (Infrared). Also produced by Travis Ayers. The Sestero Pictures-Woof Cat Films…

[norman-fucking-reedus]

No bc let me speak. The way Andrea treated people was absolutely disgusting and I will forever hate her. She was literally horrible to Dave who cared so much about her and her sister, didn’t want her to die and then was willing to die for as well as with her, like the only person who cared about her.

The shit she said to Lori was literally so fucking hypocritical and I would’ve seriously slapped her out. How are you gonna tell someone it’s wrong to stop a TEENAGER from taking their life…

She was literally just some useless blondie who was always putting everyone in danger. Like understand she SHOT Daryl IN THE HEAD. Literally a few more centimeters and he would’ve been dead that episode. She’s way too mf triggering happy and that’s a major threat to everyone. Not to mention she literally went and fucking encouraged beth to go try and off herself, then she wanted to be a smartass talking ‘bout some “she made her choice” are you actually stupid. I wish she died a long time ago.

[nirvana-collector]

IN UTERO 30

[valueinn]

Jeff Buckley on starting out as a solo act in New York

From Hallelujah to the Last Goodbye - Dave Lory with Jim Irvin, 2019

[keepingupwithzaynmalik]

Zayn Malik is gearing up to release his long-awaited fourth studio album, and he’s co-produced the upcoming LP with Grammy-winner Dave Cobb, Rolling Stone can exclusively confirm.

In working with Cobb — one of Nashville’s most accomplished and in-demand producers — Malik will explore new sonic territory and lean into pairing his unmistakable vocals with live instrumentation. The soulful singer-songwriter had spent several years writing the album at his home in rural Pennsylvania before enlisting Cobb’s help as a co-producer. There’s no release date or title yet, but the album will be Malik’s first on new label, Mercury Records.

“What got me about Zayn was his voice, you can hear love, loss, pain, triumph and humanity in it. I feel as if this record is removing the glass from his spirit directly to his fans,” Cobb says. “Zayn has really created his own universe on this record, he really has no fear and is speaking straight from his soul.”

In an interview on Call Her Daddy last year, Malik teased the upcoming album a bit, saying, “I’m doing a record I don’t think people are really gonna expect. It’s a different sound for me. And it’s got some more narrative going on, like real-life experiences and stuff. My daughter’s mentioned in there a couple of times.”

Malik’s last album, Nobody Is Listening, was released in 2021. Since then, he’s shared a couple of scattered singles, including “To Begin Again” with Ingrid Michaelson, a cover of Jimi Hendrix’s “Angel,” and last year’s “Love Like This.” Back in January, Malik collaborated with the up-and-coming Pakistani group Aur on a reimagining of their hit single, “Tu Hai Kahan.”

As for Cobb, his credits include hit albums and critically acclaimed projects with Chris Stapleton, Brandi Carlile, Lady Gaga, Jason Isbell, Lori McKenna, and Sturgill Simpson. More recently, he’s teamed up with some classic rockers like Slash and Sammy Hagar, as well as Barry Gibb, Greta Van Fleet, Gavin DeGraw, and William Prince.